Arrowsmith (1931)

December 8, 1931

THE SCREEN; A Nobel Prize Novel.

By MORDAUNT HALL.

Published: December 8, 1931

Samuel Goldwyn, that pioneer picture producer who has quite often shown a desire to lead the public rather than follow it, is responsible for the intelligent and forceful film version of Sinclair Lewis's Nobel Prize novel, "Arrowsmith," which was presented for the first time yesterday afternoon at the Gaiety.

This highly praiseworthy translation of the career of Martin Arrowsmith, M. D., may seem a trifle episodic here and there, and a little too much footage is given over to one or two harrowing happenings, but it shines in its characterizations and in the sane fashion in which the story, as a whole, has been handled. There as nothing intrusive, and, while there is much in the book that does not appear on the screen, that was to be expected in a film that runs for less than two hours.

No pains or expense has been spared in bringing this narrative to the screen. Sidney Howard, the playwright, was employed to write the adaptation, which he has accomplished in a knowledgeful fashion with a full appreciation of the limitations of a film. John Ford was entrusted with the direction, and he, too, has done his task with a good understanding of the author's writing. It is an impressively staged production, and the very few opportunities offered for something in a lighter vein are taken advantage of in a sane, subdued manner.

Ronald Colman and Helen Hayes head a cast of twenty. Mr. Colman, of course, impersonates Martin Arrowsmith, the zealous young doctor and hopeful scientist, and Miss Hayes plays the loyal and loving wife, Leora. Both of them are thorough and believable. There was no slipshod casting in the matter of the other rôles, which can be realized when it is said that Richard Bennett gives a splendid portrayal as the Swede, Sondelius; A. E. Anson does effective acting as Professor Max Gottlieb, and Claude King handles expertly the rôle of the irritating Dr. Tubbs.

After a few introductory glimpses there is the meeting of Leora and Arrowsmith. It starts with a scolding from the young M. D. and ends with his inviting her to dinner. No time is wasted before they are married, and soon comes the scene out in the Middle Western place, with Leora's bigoted and narrow-minded father and mother and her forbidding brother.

It is especially interesting when Arrowsmith hangs out his shingle in a small town of 366 persons, where he is the only doctor. It is quite moving to observe in the picture the cheery disposition of Arrowsmith and the unselfish devotion of his wife. It brings to mind the hardships of physicians and also the responsibility of a young doctor. Soon the kitchen of' the Arrowsmiths' humble domicle is transformed into a laboratory, for Martin is eager to find out whether he can concoct a serum that will save the cattle that are dying. His efforts are resented by the State Veterinarian, and after realizing his success Arrowsmith sends his discovery to Washington.

Arrowsmith eventually comes to New York, and there is his worry over not having accomplished anything after two years. This sequence is beautifully pictured, stressing the idea that Arrowsmith is so wrapped up in his laboratory work that he neglects Leora. There is his germ-killing mixture and subsequently the disappointment on learning that a French scientist has found out the same thing ahead of him and in time to write a paper on it in a medical journal.

The latter stages of the film are concerned with Arrowsmith's combating the bubonic plague in the West Indies. Leora is with him in the place referred to as Black Water, but when he goes to another island, after a heated argument with the Governor General, he implores his wife to stay where she is, believing that it is for the best. One perceives the telltale cigarette on which is spilled some of the virus, and later the sad scenes where Leora is dying and alone.

Now and again Mr. Ford carries the spectator forward and then makes the error of taking him back, or is it poor timing? This, however, does not cause any real confusion, but nevertheless it is noticeable. Life and death and Arrowsmith's devotion to science are emphasized toward the end, the last scene being depicted in a most dignified way.